Jeanne Leighton-Lundberg Clarke
Entertaining: Favorite Ladies II

The Artist - V. Douglas Snow Douglas Snow was born in Salt Lake City, Utah, in 1927. After high school, Snow studied at the University of Utah, majoring in theater. He also studied art with LeConte Stewart and Lee Greene Richards. In 1946, he moved to New York, and a year later, transferred to the Cranbrook Academy of Art in Michigan. At Cranbrook, Snow rapidly finished a BFA and an MFA and, in 1950, was awarded a Fulbright Scholarship to study at the Academy of Fine Arts in Rome. After returning to the United States in 1951, Snow embarked on a successful teaching career, first in Detroit and then at the University of Utah, where he later became chairman of the art department. Considered one of the most exciting and dynamic painters of the West, Snow, a Romantic Landscape Abstractionist, ranks among the most influential artists of the Utah modernist school. As chairman of the University of Utah Art Department from 1966-71, Douglas Snow was instrumental in bringing exhibits featuring outstanding contemporary artists to the university, thus opening the art department to major modern influences. At different times in his career, Snow's own work has been described both as Abstract Expressionism- and as Academic Abstract Impressionism. Whatever one chooses to label his works, his paintings are clearly a successful marriage of several styles, the resultant artworks being both powerful and individualistic. Snow's works are in many public and private collections including New York's Museum of Modern Art, the San Francisco Museum of Modern Art, the Utah Museum of Fine Arts, the Springville Museum of Art, and the Museum of Art at Brigham Young University. In addition, Snow painted murals at the Salt Lake Public Library, the University of Utah, the Pioneer Theater, the Salt Lake International Airport, the Iron Blossom Lodge, Snowbird, and the Scott M. Matheson building in Salt Lake City. The Art V. DOUGLAS SNOW (1927- ) Salt Lake City Cockscomb, near Teasdale, 1985 oil on canvas, 68" x 83-1/2" (172.6 x 212.1 cm) Anonymous Gift from Mapleton 1989.069 Douglas Snow lives in Teasdale, Utah, where he has a view out his studio window of the Cockscomb?an outcropping of white limestone shot with iron, copper, and other minerals. Snow's formidable talents are perfectly suited to abstract and sumptuous displays of the Utah desert. The Cockscomb, near Teasdale is a "tour de force" of lush color, loose brushwork, indirect technique, and abstract vision. The picture's scale and closeup view create an overwhelming abstract image, which becomes more and more realistic as the viewer moves further and further away from the painting. Concepts Visual Art Core Curriculum - Utah State Office of Education Under the Standard of Making, this print can help the student: * observe objects in detail and portray them in a variety of ways. * explore the printmaking process of monoprint. Following a brief description of the process have the students manipulate a water-based media (ink or tempera or acrylic paint) on a glass or metal plate until they have designed their desired image. Place a sheet of paper directly over the plate and rub the back of the paper with the palm of the hand until the printing media is transferred onto the paper. Gently pull the paper away from the plate and place face up until dry. Under the Standard of Perceiving, this print can help the student: * use contour lines to indicate the forms and directions of objects. * create the illusion of patterns and textures by the repetition of dots, lines, shapes, tones, colors, and value contrasts. * identify the use of distortion of objects in artworks. Under the Standard of Expressing, this print can help the student: * classify this work as realistic, abstract, or non-objective. * use a personal experience as inspiration to create a work of art using abstraction (for example, simplify, distort, or exaggerate). * discuss various art forms (for example, a photograph, a commercial print of an original artwork, and a print made as an original artwork) and compare similarities and differences. Under the Standard of Contextualizing, this print can help the student: * describe what the artist's intentions may have been at the time the painting was made. * discover possible significant uses of or functions for this painting. * identify the natural aspects of distorted forms in this painting. * discuss the possibilities of this artwork being created in a different geographic region, time period, and/or by the other gender.